seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA


Leave a comment

Death of Adam Loftus, First Provost of Trinity College, Dublin

adam-loftusAdam Loftus, Archbishop of Armagh, and later Dublin, and Lord Chancellor of Ireland from 1581, dies in Dublin on April 5, 1605. He is also the first Provost of Trinity College, Dublin.

Loftus is born in 1533, the second son of a monastic bailiff, Edward Loftus, in the heart of the English Yorkshire Dales. He embraces the Protestant faith early in his development. He is an undergraduate at Trinity College, Cambridge, where he reportedly attracts the notice of the young Queen Elizabeth, as much by his physique as through the power of his intellect. Although this encounter may never have happened, Loftus certainly meets with the Queen more than once, and she becomes his patron for the rest of her reign. At Cambridge Loftus takes holy orders as a Catholic priest and is appointed rector of Outwell St. Clement in Norfolk. He comes to the attention of the Catholic Queen Mary, who names him vicar of Gedney, Lincolnshire. On Elizabeth’s accession in 1558 he declares himself Anglican.

Loftus makes the acquaintance of the Queen’s favourite Thomas Radclyffe, 3rd Earl of Sussex and serves as his chaplain in Ireland in 1560. In 1561 he becomes chaplain to Alexander Craike, Bishop of Kildare and Dean of St. Patrick’s Cathedral in Dublin. Later that year he is appointed rector of Painstown in Meath, and evidently earns a reputation as a learned and discreet advisor to the English authorities in Dublin. In 1563, he is consecrated Archbishop of Armagh at the unprecedented age of 28 by Hugh Curwen, Archbishop of Dublin.

Following a clash with Shane O’Neill, the real power in Ulster during these years, he comes to Dublin in 1564. To supplement the meager income of his troubled archbishopric he is temporarily appointed to the Deanery of St. Patrick’s Cathedral by the queen in the following year. He is also appointed president of the new commission for ecclesiastical causes. This leads to a serious quarrel with the highly respected Bishop of Meath, Hugh Brady.

In 1567 Loftus, having lobbied successfully for the removal of Hugh Curwen, who becomes Bishop of Oxford, and having defeated the rival claims of the Bishop of Meath, is appointed Archbishop of Dublin, where the queen expects him to carry out reforms in the Church. On several occasions he temporarily carries out the functions of Lord Keeper of the Great Seal, and in August 1581 he is appointed Lord Chancellor of Ireland after an involved dispute with Nicholas White, Master of the Rolls in Ireland. He is constantly occupied in attempts to improve his financial position by obtaining additional preferment, and is subject to repeated accusations of corruption in public office.

In 1582 Loftus acquires land and builds a castle at Rathfarnham, which he inhabits from 1585. In 1569–1570 the divisions in Irish politics take on a religious tinge with the First Desmond Rebellion in Munster and Pope Pius V‘s 1570 papal bull Regnans in Excelsis. The bull questions Elizabeth’s authority and thereafter Roman Catholics are suspected of disloyalty by the official class unless they are discreet.

Loftus takes a leading part in the execution of Dermot O’Hurley, Archbishop of Cashel. When O’Hurley refuses to give information, Francis Walsingham suggests he should be tortured. Although the Irish judges repeatedly decide that there is no case against O’Hurley, on June 19, 1584 Loftus and Sir Henry Wallop write to Walsingham “We gave warrant to the knight-marshal to do execution upon him, which accordingly was performed, and thereby the realm rid of a most pestilent member.”

Between 1584 and 1591 Loftus has a series of clashes with Sir John Perrot on the location of an Irish University. Perrot wants to use St. Patrick’s Cathedral, Dublin as the site of the new University, which Loftus seeks to preserve as the principal place of Protestant worship in Dublin, as well as a valuable source of income for himself. The Archbishop wins the argument with the help of his patron, Queen Elizabeth I, and Trinity College, Dublin is founded at its current location, named after his old college at Cambridge, leaving the Cathedral unaffected. Loftus is named as its first Provost in 1593.

The issue of religious and political rivalry continue during the two Desmond Rebellions (1569–83) and the Nine Years’ War (1594–1603), both of which overlap with the Anglo-Spanish War (1585–1604), during which some rebellious Irish nobles are helped by the Papacy and by Elizabeth’s arch-enemy Philip II of Spain. Due to the unsettled state of the country Protestantism makes little progress, unlike in Celtic Scotland and Wales at that time. It comes to be associated with military conquest and is therefore hated by many. The political-religious overlap is personified by Loftus, who serves as Archbishop and as Lord Chancellor of Ireland. An unlikely alliance forms between Gaelic Irish families and the Norman “Old English“, who had been enemies for centuries but who now mostly remain Roman Catholic.

Adam Loftus dies in Dublin on April 5, 1605 and is interred in the building he had helped to preserve for future generations, while many of his portraits hang today within the walls of the University which he helped found. Having buried his wife Jane (Purdon) and two sons (of their 20 children) in the family vault at St. Patrick’s, Loftus dies at his Episcopal Palace in Kevin Street “worn out with age” and joins his family in the same vault. His zeal and efficiency are commended by James I upon the king’s accession.


Leave a comment

Birth of Artist Thomas James Carr

Thomas James Carr, British artist who is associated with the Euston Road School in the 1930s and has a long career as a painter of domestic scenes and landscapes, is born in Belfast to a well-to-do family on September 21, 1909.

Carr attends Oundle School where his art masters include E.M.O’R. Dickey and Christopher Perkins. In 1927 Carr moves to London where he studies at the Slade School of Fine Art. After two years at the Slade, he moves to Italy and spends six months in Florence. Upon returning to London, he establishes himself as a well-regarded painter of domestic scenes.

Although essentially a realist painter, Carr is included in the 1934 Objective Abstractionists exhibition at Zwemmer’s Gallery. In 1937, he shares an exhibition with Victor Pasmore and Claude Rogers at the Storran Gallery and subsequently becomes associated with the representational style of the Euston Road School. Starting in 1940, at Georges Wildenstein‘s gallery, he holds a series of one-man exhibitions at various galleries including at the Leicester Galleries, The Redfern Gallery and also at Thomas Agnew & Sons.

In 1939, Carr returns to Northern Ireland and settles in Newcastle, County Down. During the World War II, he receives a small number of commissions from the War Artists’ Advisory Committee to depict parachute manufacture and the Short Sunderland flying-boats being built at the Short Brothers factory in Belfast.

After the war, Carr teaches at the Belfast College of Art and moves to Belfast in 1955. After the death of his wife in 1995, he moves to Norfolk, England to be nearer one of his three daughters and her family. He continues to paint into old age, and tends to concentrate on landscape painting.

Carr is a regular exhibitor at the Royal Academy of Arts and is a member of the Royal Ulster Academy, the New English Art Club, the Royal Watercolour Society and is an honorary member of the Royal Hibernian Academy. Queen’s University awards him an honorary doctorate in 1991. For his services to art in Northern Ireland, he is awarded the MBE in 1974 and receives an OBE in 1993.

Thomas Carr dies at the age of 89 in Norwich, England on February 17, 1999.

(Pictured: “Making Coloured Parachutes” by Thomas James Carr (http://www.iwm.org.uk/collections/item/object/4674) [Public domain], via Wikimedia Commons)


Leave a comment

Birth of Singer/Songwriter Eleanor McEvoy

eleanor-mcevoyEleanor McEvoy, one of Ireland’s most accomplished contemporary singer/songwriters, is born in Dublin on January 22, 1967. McEvoy composes the song “Only A Woman’s Heart,” the title track of A Woman’s Heart, the best-selling Irish album in Irish history.

McEvoy’s life as a musician begins at the age of four when she begins playing piano. At the age of eight she takes up violin and, as a teen, she joins the Junior Irish Youth Orchestra. Upon finishing school she attends Trinity College, Dublin where she studies music by day and works in pit orchestras and music clubs by night.

McEvoy graduates from Trinity with an Honors Degree in music and spends four months busking in New York City. In 1988, she is accepted into the RTÉ National Symphony Orchestra where she spends four years before leaving to concentrate on songwriting.

During a solo date in July 1992, she performs a little-known, self-penned song, “Only a Woman’s Heart.” Mary Black, of whose band McEvoy is a member, is in the audience and invites her to add the track to an album of Irish female artists. The album is subsequently titled A Woman’s Heart and the track is released as the lead single. The album goes on to sell over three-quarters of a million copies in Ireland alone and remains the biggest selling Irish album of all time. The record’s success makes McEvoy a superstar virtually overnight.

Eleanor McEvoy, the self-titled debut offering, recorded in Windmill Lane Studios, is released in February 1993, and tours in the United States, Asia, and Europe follow. Back on Irish soil, McEvoy is awarded Best New Artist, Best New Performer, and Best Songwriter Awards by the Irish entertainment and music industries.

McEvoy signs a contract with Columbia Records and begins working on a new, edgier second album, which is eventually entitled What’s Following Me? The album is released in 1996 and the sound is louder and grungier than her debut.

McEvoy releases her third album Snapshots in 1999. Her primary goal is to make Snapshots her most song-oriented album to date. Toward that goal, she hooks up with legendary producer Rupert Hine, who has worked with Stevie Nicks, Tina Turner, Suzanne Vega, and Duncan Sheik, and records the album at Rupert’s “Chateau de la Tour de Moulin” and then in Metropolis Studios in London.

As the century closes, McEvoy has had enough of major-label involvement, making the decision to take the fourth album and head down the independent road. Yola was a turning point in McEvoy’s musical direction. Released in 2001, it reflects the acoustic, jazz-influenced style she had developed on stage with Brian Connor.

March 2004 sees the release of Early Hours, produced by McEvoy and Brian Connor. The style differs from McEvoy’s previous work, taking on a jazz/blues feel for many of the songs. She continues to tour with Brian Connor until April 2005. She then begins performing solo, accompanying herself on bass guitar, electric guitar, mandolin, and violin.

McEvoy continues to release new albums almost on a yearly basis with Out There (2006), Love Must Be Tough (2008), Singled Out (2009), I’d Rather Go Blonde (2010), Alone (2011), If You Leave… (2013), and Stuff (2014).

Naked Music (2016) is McEvoy’s twelfth studio album. It is recorded at the Grange Studio in Norfolk, UK. McEvoy records the tracks by “studio-performing,” in other words, playing the songs as she would in a live performance. The album features exclusive artwork by famed painter Chris Gollon.